DOCSLIB.ORG

Release: 09/05/2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Release: 09/05/2018 release: 09/05/2018 FINAL PORTRAIT SYNOPSIS 3 FINAL PORTRAIT CAST Alberto Giacometti Geoffrey Rush James Lord Armie Hammer Diego Giacometti Tony Shalhoub Annette Giacometti Sylvie Testud Caroline Clémence Poésy Pierre Matisse James Faulkner CREW Liza Bracey 4 FINAL PORTRAIT Long Synopsis It is 1964 and outside a Paris art gallery, the dishevelled 64 year old Alberto Giacometti (Geoffrey Rush) has walked out of his own exhibition opening. His American friend, the convivial and impeccably turned out 40-something James Lord (Armie Hammer) comes to find him. Giacometti muses that Lord has never posed for him. Although Lord says he has to leave for New York in a couple of days, Giacometti reassures him that it will be quick so Lord agrees to sit for a portrait. Lord arrives at Giacometti’s ramshackle studio with its adjoining bedroom and rickety staircase, all leading off a cluttered courtyard. Annette Arm (Sylvie Testud), Giacometti’s tired looking though much younger wife greets Lord warmly. Giacometti works on a sculpture but laments to his brother and right hand man, Diego (Tony Shalhoub) that the piece is a miserable failure. Giacometti starts work on the portrait but tells Lord that he will never be able to paint him as he sees him. He also issues the ominous warning that it is impossible to finish a portrait. Lord reminds him that he has a flight to catch, but the artist reassures him. Caroline (Clémence Poésy), a prostitute who is Giacometti’s lover, muse and model arrives and Lord smiles as the pair kiss and giggle. Lord sees that Annette is also watching. Giacometti has been openly having an affair for four years. Lord writes an account of all that goes on. Giacometti and Caroline go out to have fun with friends and drink wine in their local restaurant before falling into bed together. Giacometti then gets up and returns to his studio to work through the night. As day breaks, he crawls into bed next to his wife and turns the light on, as he is afraid of the dark. This is his routine. The following day, an unseasonably warm March morning, Lord meets Giacometti who is telling his dealer that he will never sell his latest portrait. He plans to give it to Lord. Back behind the canvas, Giacometti starts to show the first signs of frustration. He exclaims that it is impossible to get the portrait right. He will need an extra day or two. Lord is left with no choice but to change his flight. He can’t understand how Giacometti can doubt his ability so greatly, especially as he becomes ever more 5 FINAL PORTRAIT successful. The artist responds that there is no better breeding ground for doubt than success. He feels that everything he has ever exhibited has been unfinished – it’s impossible for him ever to be satisfied. Diego arrives from the gallery with a huge bundle of cash. Giacometti peels off some notes for his brother, a smaller amount for himself and he asks Lord to help him find a hiding place the rest. Lord witnesses Giacometti doing business with a dealer, trading some of his new work for his old drawings, a transaction that surprises Lord, but the artist can’t let go of his original works, and the art world loves his most recent which they see as iconic. As he paints, Giacometti gets more frustrated and exclaims that he doesn’t even know if he should continue. The two go out to eat with Annette, but once in the restaurant, Giacometti sees Caroline and disappears to sit with her, much to Lord’s discomfort. Annette is used to being abandoned but she is hurt and leaves. Day four and, whilst Lord feels the painting is going well, Giacometti says he simply cannot reproduce what he sees. Giacometti says he just needs another week. Lord changes his flight again. Annette is in her bedroom with Isaku Yanaihara, a Japanese friend who had modelled for Giacometti and who the artist encouraged into an affair with his wife. Meanwhile, Caroline is in the studio cajoling Giacometti into buying her an expensive car. Much to her delight, finally he agrees. Diego tells Lord how, as a boy, he used to love watching his brother and father sculpting together. He didn’t choose to join them as he was happier getting into mischief. Lord says he was the same, busy being thrown out of various institutions. Giacometti bursts in, violently ripping up drawings. He has been to see a lithographer about transferring his art onto stone, but he has been told that the paper is too old for this process to work. Lord tries to save the drawings, some of which have been included accidentally. Diego just watches; he is used to this tumultuous behaviour. Later, Diego presents Lord with one of his own sculptures and explains that Caroline has gone missing, which explains the artist’s particularly crazy behaviour. 6 FINAL PORTRAIT Giacometti turns to Annette to model for him, in the freezing cold studio, but she doesn’t please him. In her frustration, Annette despairs that she gives him everything but he gives her nothing. He doesn’t understand what more she could possibly want for, beyond a roof over her head. But for her this is not the home, nor that marriage, that she longs for, plus she sees him giving all of his money to Caroline. In response, he throws some cash at her before storming out to search the streets for his lover. Caroline reappears as suddenly as she disappeared and the delicate balance of Giacometti’s life is restored. Lord is on the phone justifying to someone back home why he must delay his return yet again. Although Giacometti is happy to have Caroline back, after two weeks of posing, Lord sees the struggle that Giacometti faces to express in visual terms the reality that he sees. They walk through the streets together and talk about their acquaintance Picasso and that artist’s own insecurities. Their next sitting goes even more badly and Giacometti has to stop before he destroys the work. Lord laments the endlessness of the process to Diego, who empathises with his brother but advises that Lord should not change his flight again and should instead set a deadline. Annette has used her money to buy a new dress. Her husband has promised to take her to the opening night of Chagall’s ceiling at the Opera House. Caroline jubilantly screeches up in her beautiful new convertible car. She insists on taking Lord and Giacometti for a white knuckle drive that both amuses and terrifies the two men. Giacometti falls ill and can’t take Annette to the Opera house. She cares for him through his sickness, whilst Caroline’s pimps make sure that she is kept busy with other clients. Once he recovers, Giacometti has a new lease of life and he agrees to finish the painting in four more sittings. His studio has been ransacked, which Diego tells Lord is a warning from the pimps. Lord accompanies Giacometti to a meeting with these men where he pays them off, nonchalantly giving them way more money than they have demanded for Caroline’s services: both posing and for sex. When Giacometti returns to his portrait, he becomes more dejected and, seizing a large brush, he obliterates the painting, saying he is “undoing” it. Lord says he had thought it looked very good, but this only reinforces Giacometti’s intent. 7 FINAL PORTRAIT They work on the painting for three more days and at the end of every session, Giacometti reaches for the brush and wipes out everything he has achieved. Lord changes his flight once again but then tells Diego he has a plan; Lord has noticed a pattern in the artist’s behaviour and has made up his mind to stop the work when he senses Giacometti to be at his most positive and before the big brush comes out. At the next sitting, Lord implements the plan, leaping up at the exact moment and declaring the painting to be the best it has ever been. Giacometti is taken by surprise and concurs that this could be the beginning of something, but Lord brightly insists that no, it is the end. He will leave Paris the very next day. He cheerfully proclaims that it has been his very great honour to sit for the artist. Lord and Giacometti take a final walk together, Giacometti insisting that his good friend must come back to Paris so that they can continue their work as they have made “some” progress. However, this is to be their last meeting; Giacometti dies a short time later, having written to Lord to tell him how much he had enjoyed their time together. Giacometti’s final portrait is packed up and shipped off to an exhibition in New York. 8 FINAL PORTRAIT Interview with Geoffrey Rush (Alberto Giacometti) I read the script and I thought it was a bit of a gem. Stanley, very flatteringly, said this has got your name all over it and I want you to do it. It’s a very nice, very smart piece of cataloguing of Lord’s experience of sitting for a person who at that stage was quite a famous living icon. He gives a wonderfully insightful analysis of the dilemmas in the creative process. Armie is almost perfect as Lord - this guy is like the clone. He brings a very natural, very authentic quality to this guy’s American energy in this European art world.
Load more

Recommended publications
  • Diego Giacometti 1901-1985
    Diego Giacometti 1901-1985 La promenade des amis Tapis en laine, édition à 100 exemplaire, 1984 Dimensions : 240 x 175 cm Dimensions : 94.49 x 68.90 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Diego Giacometti 1901-1985 Biography Young brother of Alberto Giacometti, Diego grew up in Stampa in the family farm where his father Giovanni Giacometti - Swiss post-impressionist and Fauvism painter - used to make their daily furniture. By the way, the father introduced the young boy to art. From a solitary nature, Diego shared his childhood with animals in the village and the farm. This privileged relation with animals will always guide him during his artistic life. Diego Giacometti was resistant to studies and preferred to pose for his eldest brother instead of going to school. After mediocre studies, he lived a travelling life from 1919. He especially travelled to Egypt where the symbolism of the cat left its mark on his future works. In 1925, he settled in Paris and joined his brother Alberto who was studied sculpture with Antoine Bourdelle. The first years were especially difficult for Diego who only found sporadic jobs in factories or offices. In 1927, Alberto found a little sculptor's studio. From then on, Diego will constantly be his co-worker. Beyond his exceptional savoir-faire and his indisputable manual dexterity he also brought some ideas. He assisted his brother by creating some bases and display stands for his sculptures. This is how he turned almost naturally to furniture's making.
    [Show full text]
  • L'été Giacometti À La Fondation Maeght by Michel Gathier
    www.smartymagazine.com L'été Giacometti à la Fondation Maeght by Michel Gathier >> SAINT-PAUL-DE-VENCE Toujours chez Alberto Giacometti revient ce fil incandescent de la sculpture comme si celle-ci, de ses mains, se réconciliait avec son point d'origine, délivrée de sa matière, réduite à la seule vérité du nerf qui l'organise et lui donne vie. Alberto Giacometti est à la fois celui qui parle de l'origine et qui trace un autre chemin. « L'homme qui marche » est pétri de cendre et, tel le chien ou le chat de ses sculptures, il renifle des miettes de lumière pour continuer à vivre. La lumière, ce fut son père Giovanni qui, dans la peinture, la célébra. Né en 1868, il inaugura une lignée familiale d'artistes qui durant plus d'un siècle perpétua cette croyance en l'art, cette volonté folle de découvrir la vérité du monde. La Fondation Maeght nous raconte aujourd'hui cette histoire-là qui est celle du feu et de la cendre, celle des braises qui nourrissent de nouvelles flammes pour croire en la vie. Cette aventure s'incarne dans cette famille qui, dans la peinture, la sculpture, la décoration ou l’architecture, embrassa le monde de sa passion créatrice. Giovanni eut trois fils. Alberto, l'aîné, rayonne encore du bronze de ses sculptures émaciées et son œuvre s'expose aujourd'hui à Saint Paul de Vence comme au Forum Grimaldi de Monaco. Entre l'ombre et la lumière, le plein et le vide, il nous place au cœur de l'acte créateur – celui que Nietzsche évoquait dans « La naissance de la tragédie » : l'opposition fondamentale entre le principe apollinien lié à la lumière et au feu et le principe dionysiaque sous les auspices de l'obscurité et de l'effacement.
    [Show full text]
  • Alberto Giacometti: a Biography Sylvie Felber
    Alberto Giacometti: A Biography Sylvie Felber Alberto Giacometti is born on October 10, 1901, in the village of Borgonovo near Stampa, in the valley of Bregaglia, Switzerland. He is the eldest of four children in a family with an artistic background. His mother, Annetta Stampa, comes from a local landed family, and his father, Giovanni Giacometti, is one of the leading exponents of Swiss Post-Impressionist painting. The well-known Swiss painter Cuno Amiet becomes his godfather. In this milieu, Giacometti’s interest in art is nurtured from an early age: in 1915 he completes his first oil painting, in his father’s studio, and just a year later he models portrait busts of his brothers.1 Giacometti soon realizes that he wants to become an artist. In 1919 he leaves his Protestant boarding school in Schiers, near Chur, and moves to Geneva to study fine art. In 1922 he goes to Paris, then the center of the art world, where he studies life drawing, as well as sculpture under Antoine Bourdelle, at the renowned Académie de la Grande Chaumière. He also pays frequent visits to the Louvre to sketch. In 1925 Giacometti has his first exhibition, at the Salon des Tuileries, with two works: a torso and a head of his brother Diego. In the same year, Diego follows his elder brother to Paris. He will model for Alberto for the rest of his life, and from 1929 on also acts as his assistant. In December 1926, Giacometti moves into a new studio at 46, rue Hippolyte-Maindron. The studio is cramped and humble, but he will work there to the last.
    [Show full text]
  • Alberto Giacometti and the Crisis of the Monument, 1935–45 A
    UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures.
    [Show full text]
  • Pablo Picasso (1881-1973)
    PABLO PICASSO (1881-1973) Hibou 1953 Ed. 18/25 pcs Terre de faïence blanche à engobes polychromes rouge et noir H. 32.5 cm Numéroté et tamponné au dessous : Edition Picasso 18 Madoura Picasso, Catalogue de l'oeuvre céramique édité 1947-1971, par Alain Ramié, Editions Madoura, Vallauris, 1988, illustré en couleur p.147 sous le no.224. Provenance : Collection privée, Perpignan (cadeau de l'artiste) Exposition : Collection permanente, Musée national Picasso, Paris, autre numéro de la même série. Littérature : Ceramica de Picasso, par Georges Ramié, Ediciones Poligrafa, S.A, 1974, Barcelone, illustré en noir et blanc p.291 sous le no.705, et référence p.291 sous le même numéro. Picasso, Catalogue de l'oeuvre céramique édité 1947-1971, par Alain Ramié, Editions Madoura, Vallauris, 1988, illustré en couleur p.147 sous le no.285. Picasso : Editions céramique, Galerie Madoura, 1988, affiche de l'exposition avec modèle similaire illustré. Picasso : Les années Vallauris, par Anne Dopffer et Johanne Lindskog, Ed. RMN, 2018, illustré en couleur p.239 sous le no.III.186 Description : Serait-il possible que l'inspiration tombe du ciel ? L'improbable histoire de Pablo Picasso et sa rencontre avec un jeune hibou, alors nommé Ubu, témoigne que, parfois, l'influence peut littéralement tomber du ciel. L'année 1946 marque le début d'une camaraderie entre l'artiste et un hibou blessé. CBA S.A. 10 rue de l'Hôtel de Ville CH-1204 Genève Tel +41 22 827 24 24 [email protected] Bailly Gallery 114, rue du Faubourg Saint-Honoré, 75008, Paris Tel +33 1 42 66 22 72 baillygallery.com "Chaque fois que le hibou reniflait Picasso, il criait, Cochon, Merde et d'autres obscénités, juste pour montrer que lui-même était encore plus mal élevé que l'animal, mais les doigts de Picasso pensés petits, étaient robuste ainsi le hibou ne lui faisait aucun mal.
    [Show full text]
  • Alberto Giacometti
    ALBERTO GIACOMETTI ..................................................................................................................................................................................................................... Genius manifest in art Texts by Beat Stutzer, Franco Monteforte, Casimiro Di Crescenzo, Christian Dettwiler Genius manifest in art ..................................................................................................................................................................................................................... Alberto Giacometti, 1901–1966 by Beat Stutzer* Page I: Alberto Giacometti in the courtyard to his atelier in Paris, ca. 1958. This portrait is featured on Switzerland’s 100-franc banknote. On this page: Alberto Giacometti in his atelier in Paris, ca. 1952. Left: Alberto Giacometti’s Self-portrait , ca. 1923. Oil on canvas, on wood: 55 x 32 cm. Kunsthaus Zürich, Alberto Giacometti Foundation. Alberto Giacometti ..................................................................................................................................................................................................................... Virtually every book or article on Alberto bathed in sunlight. Its bare landscape and Giacometti includes some element of tough climate had a great influence on the biography. Some publications illuminate rural population here. The people of Bergell Giacometti’s life through the use of a spe - were used to hardship and deprivation, as cial literary treatment,
    [Show full text]
  • FINAL PORTRAIT L’Arte Di Essere Amici
    FESTA MOBILE Riverstone Pictures in associazione con HanWay Films una produzione Potboiler in associazione con Olive Productions, Arsam International e Lowsum Production FINAL PORTRAIT L’arte di essere amici un film scritto e diretto da STANLEY TUCCI Tratto dall’autobiografia di James Lord Un ritratto di Giacometti con GEOFFREY RUSH ARMIE HAMMER Uscita: 8 febbraio 2018 durata: 90 minuti I materiali stampa sono scaricabili dall’area press del sito www.bimfilm.com FINAL PORTRAIT – L’arte di essere amici Cast ARTISTICO GEOFFREY RUSH Alberto Giacometti ARMIE HAMMER James Lord TONY SHALHOUB Diego Giacometti SYLVIE TESTUD Annette Giacometti CLÉMENCE POÉSY Caroline Cast TECNICO REGIA Stanley Tucci SCENEGGIATURA Stanley Tucci SCENOGRAFIA James Merifield FOTOGRAFIA Danny Cohen COSTUMI Liza Bracey TRUCCO E CAPELLI Catherine Scoble MONTAGGIO Camilla Toniolo MUSICA Evan Lurie CASTING Nina Gold 2 FINAL PORTRAIT – L’arte di essere amici SINOSSI Nel 1964, durante un breve viaggio a Parigi, lo scrittore americano e appassionato d’arte James Lord incontra il suo amico Alberto Giacometti, un pittore di fama internazionale, che gli chiede di posare per lui. Le sedute, gli assicura Giacometti, dureranno solo qualche giorno. Lusingato e incuriosito, Lord accetta. Non è solo l’inizio di un’amicizia insolita e toccante, ma anche – visto attraverso gli occhi di Lord – di un viaggio illuminante nella bellezza, la frustrazione, la profondità e, a volte, il vero e proprio caos del processo artistico. FINAL PORTRAIT è l’affascinante ritratto di un genio e la storia di un’amicizia tra due uomini profondamente diversi, eppure uniti da un atto creativo in costante evoluzione. Il film racconta anche le difficoltà del processo artistico – a tratti esaltante, a tratti esasperante e sconcertante – chiedendosi se il talento di un grande artista sia un dono o una maledizione.
    [Show full text]
  • Download Press Release
    Press Release Berlinale 2017: Competition and Berlinale Special Are Complete – Master Directors, Newcomers, and Stars Galore The Competition and Berlinale Special of the 67th Berlin International Film Festival are now complete. 18 of the 24 films selected for Competition will be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival. The Berlinale Special will present recent works by contemporary filmmakers, documentaries, and extraordinary formats, as well as brand new series from around the world. 67. Internationale Filmfestspiele Berlin Berlinale Special Galas will be held at the Friedrichstadt-Palast and Zoo 09. – 19.02.2017 Palast. Other Special premieres will take place at the Kino International. Moderated discussions will follow the screenings at the Haus der Berliner Press Office Festspiele. Potsdamer Straße 5 10785 Berlin For the third time, Berlinale Special Series will present a selection of series in the official programme. Six German and international Phone +49 · 30 · 259 20 · 707 productions will have their world premieres at the Haus der Berliner Fax +49 · 30 · 259 20 · 799 Festspiele this year. Audiences will be able to see the first two episodes [email protected] of each series. www.berlinale.de Competition The following films will complete the Competition programme: Final Portrait Ein Geschäftsbereich der United Kingdom / France Kulturveranstaltungen des By Stanley Tucci (Big Night, Joe Gould's Secret, Blind Date) Bundes in Berlin (KBB) GmbH With Geoffrey Rush, Armie Hammer, Clémence Poésy, Tony Geschäftsführung: Shalhoub, James Faulkner, Sylvie Testud Prof. Dieter Kosslick World premiere – Out of competition (Intendant Internationale Filmfestspiele Berlin), Charlotte Sieben Hao ji le (Have a Nice Day) - Animation (Kaufmännische Geschäftsführung), People’s Republic of China Prof.
    [Show full text]
  • DS 1718-Final-Portrait.Pdf
    Un ottimo Geoffrey Rush come interprete, Stanley Tucci come regista, danno vita a una grande sfida: entrare nelle profondità del processo artistico di un artista geniale, Alberto Giacometti, cercando di penetrare senza svelare – perché nel cuore dell’arte c’è un enigma non svelabile – la magia del bello. scheda tecnica un film di Stanley Tucci; con: Geoffrey Rush, Armie Hammer, Clémence Poésy, Tony Shalhoub, James Faulkner, Sylvie Testud, Kerry Shale; sceneggiatura: Stanley Tucci; montaggio: Camilla Toniolo; musiche: Evan Lurie; fotografia: Danny Cohen; Gran Bretagna; 2017, 90’, Distribuzione: BIM. Premi e riconoscimenti 2017- Presentato fuori concorso al Festival Internazionale del cinema di Berlino; Presentato al Torino Film Festival; Candidato per il British Independent Film Award (Best Production Design). Stanley Tucci Uno dei più grandi attori caratteristi dei nostri tempi, Stanley Tucci è nato a Peekskill (la stessa cittadina dello stato di New York che ha dato i natali a Mel Gibson) l'11 novembre del 1960, da genitori di origini calabresi. Dopo aver studiato presso la State University of New York di Purchase, debutta a Broadway nel 1982 con una rappresentazione di The Queen and the Rebels. Da lì all'esordio cinematografico passano sono tre anni: è il 1985, infatti, quando Tucci interpreta il ruolo di un soldato ne L'onore dei Prizzi, diretto da John Huston. Comincia così una lunga carriera che lo vedrà alternare cinema e televisione. In questa prima fase si segnalano la partecipazione a Monkey Shines di George Romero, il ruolo di Lucky Luciano in Billy Bathgate - A scuola di gangster, quello di Vernon nella commedia Beethoven.
    [Show full text]
  • Film Journal International © 2018 by Film Expo Group, LLC
    From the Editor’s Desk In Focus LEARNING ABOUT Y OUNG MOVIEGOERS TICKETING EVOLUTION Recently, the International Cinema Technology The traditional movie theatre box office hasn’t gone away, Association held a business session in Los Angeles as part but in recent years the industry has seen more and more al- of their annual program, the L.A. Seminar Series, at the ternatives to longstanding face-to-face ticket sales. The ubiquity Universal Hilton Hotel. The program usually attracts 200 of smartphones, the lure of the web, and the public’s comfort to 250 attendees and is geared primarily to the technology with online transactions have all been factors in the growth of community of the motion picture industry. However, in the Internet and mobile movie-ticket purchases. Still, online ticket- past five years the programming has broadened its focus and ing accounts for only 25 percent of overall movie-ticket buys in is now attracting film studios and theatrical exhibition. North America, compared to a massive 80 percent in China. One program that attracted attention and was favorably But the percentage is growing each year, spurred most received was a panel of students including a high-school of all by the rise of luxury recliner seating in cinemas and the senior, film students and a 16-year-old student from Europe. public’s urge to reserve those extra-comfy and roomy chairs. Most of the panel members were between 16 and 23 and As Joel Davis, VP and chief operating officer at Premiere Cin- their comments were intriguing. Bear in mind that some of ema Corp., explains in our FJI exhibitor survey in this issue, the findings below are skewed, because each panelist enjoys “Patrons are quickly accepting the reserved model due to the going to the movies and has little income and few spare wide acceptance of recliners.
    [Show full text]
  • ALBI – DOSSIER DE PRESSE , Giacomettien Partenariat Avec La Fondation Giacometti, Paris
    16 MARS 30 JUIN, 2019 – MUSÉE TOULOUSE- LAUTREC ALBI – DOSSIER DE PRESSE , GIACOMETTIEn partenariat avec la Fondation Giacometti, Paris Avec le soutien de ADNOF -NOIT GIACOMETTI Œuvre multiple fruit d’une recherche inlas- Le dessin est un préliminaire indispensable sable, l’art d’Alberto Giacometti occupe une et le rapprochement proposé entre sculptures, place essentielle parmi les avant-gardes du dessins ou estampes, dont plusieurs sont début du XXe siècle. inédits, éclaire de façon significative l’art de Giacometti. Fruit de multiples séances de La figure humaine, et en particulier le visage, poses, l’image se construit en lignes-stries en est le motif privilégié, et l’exposition nerveuses, enchevêtrement de traits répétés d’Albi est centrée sur le rapport au modèle. qui n’ont pas pour fonction de délinéer un Le sujet prend tout son sens dans un musée contour mais de donner à la représentation où l’œuvre de Toulouse-Lautrec affirme la sa force, sa réalité et sa vibration. liberté d’un artiste qui rejette la représenta- tion d’imitation et simplifie son écriture dans Renonçant à toute description littérale une démarche allusive et synthétique au Giacometti explique : « ce n’était plus la forme service de la vérité du sujet. extérieure des êtres qui m’intéressait mais ce que je sentais effectivement », démarche Alberto Giacometti côtoie le Cubisme, se de nature existentielle qui le laisse souvent rapproche du Surréalisme, puis revient à la insatisfait, dont témoignent notamment les figuration vers 1935 et prône le retour au multiples représentations de sa femme, modèle vivant. Annette, ou le travail acharné pour repré- senter son ami japonais Isaku Yanaihara.
    [Show full text]
  • L'ancienne Collection Bruno Giacometti
    Contact details: Alexandra Kindermann +41 44 268 1020 [email protected] L’ANCIENNE COLLECTION BRUNO GIACOMETTI LES BÉNÉFICES SERONT REVERSÉS À LA FONDATION DR. BEAT RICHNER DES HOPITAUX POUR ENFANTS KANTHA BOPHA Zurich – Christie’s est heureux de présenter plus de 30 œuvres venant de l’ancienne collection Bruno Giacometti (1907-2012), le cadet des célèbres frères Alberto et Diego, décedé cette année à Zurich à l’âge de 104 ans. Sa collection a été divisée en deux parties: d’une part toutes les œuvres relatives à Giovanni, Alberto et Diego Giacometti, ainsi que celles d’artistes amis ont été données au Kunsthaus à Zurich et d’autre part ses effets personnels qui feront l’objet d’une vente aux enchères aux bénéfices de la Fondation du Dr. Beat Richner au profit des Hopitaux pour enfants Kantha Bopha au Cambodge. L’ensemble sera offert à l’occasion de la prochaine vente d’Art Suisse qui aura lieu le 24 septembre au Kunsthaus Zurich, Grosser Vortragssaal. Le Kunsthaus Zurich était de toute importance pour Bruno Giacometti ; il siégeait au conseil et occupait le poste de président du comité d’exposition du Kunsthaus pendant plusieurs années. Bien que les deux hommes ne se soient jamais rencontrés, l’extraordinaire action caritative du Dr. Beat Richner est bien connue en Suisse. A la fin de sa vie, le philanthrope Bruno était aidé par une infermière cambodgienne, ce qui l’a sensibilisé aux causes caritatives présentes au Cambodge et amené à imaginer cette vente caritative. La collection est estimée autour de SFr. 1 Million. “Dr.
    [Show full text]